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POP-UP VIDEOS!

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free supplement Issue 136 • March 2018

48-page

show GUIDE! canon refresher course

back to

basics Essential Canon DSLR techniques for beginners to advanced enthusiasts

big interview

celebrity portraits From Hollywood stars to shooting world leaders

canon school l Getting a job as a pro photographer l Canon problems solved l Learn how to maintain your Canon camera

cash with your cGettiangna jobon as a photographer

pro advice

go wild in the studio Capture amazing animal portraits using lights

new tutorials

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Back button AF is possible with just about every EOS DSLR Brian Worley – Canon expert

take better photos now

Learn new Canon DSLR skills www.digitalcameraworld.com to take your best-ever shots


entry-level to advanced

Whether you’re a real beginner or advanced amateur, our DSLR skills guide will help you improve your shots! Page 28

Our Guarantee

Welcome

W Peter Travers Editor

hen there’s a learner driver on the road in front of us, it’s all too easy to get annoyed when they’re driving slowly, badly or taking their sweet time. However, I always try to relax and give these learners some space to do their thing – after all, we were all learner drivers once. The same can be said of photographers. When you see an absolute beginner all fingers and thumbs with their new Canon DSLR, it’s too easy to look down your nose. It’s not like we can ask beginners to wear L-plates on their cameras. Instead, we should remember back when we were beginners and how little we knew, cut these newbies some slack, and be on hand to offer a few pointers to assist our fellow amateurs. Whether you’ve just started taking photos with a new camera, or are a seasoned enthusiast, our main Canon skills refresher course this issue will help you take better photos (from page 28). This issue we head to talented Canon pro photographer Tim Flach’s London studio with our Apprentice to learn how to capture human-like expressions in wildlife (page 8) by photographing two big birds of prey. We interview Jillian Edelstein about growing up in South Africa and photographing famous faces from Hollywood stars to world leaders (page 64). While in Canon School (from page 79) we look into options to get a job as a professional photographer, how to give your Canon DSLR and lenses a clean up, and we answer more of your technical questions. In Canon Skills we shoot paint sculptures underwater, look at how to get started in gig photography, and focus stack for macro shots, all including free video guides. We’re also giving away a free 48-page preview guide to The Photography Show on 17-20 March, see over the page.

• We’re the only photo magazine in the newsagent that’s 100% dedicated to Canon EOS DSLR Owners so we’re 100% relevant to your needs.

• We’re 100% independent which means we’re free to publish what we feel is best for every Canon DSLR photographer from beginners to enthusiasts to professionals.

• We’re Canon enthusiasts and, with our contributors, we can offer years of expert photography experience. We’re always excited to pass on what we’ve learned.

• We’re more than just a print mag; you can buy PhotoPlus for any digital device worldwide via Apple iTunes, Google Play, Zinio, Magzter, Amazon Kindle, B&N Nook, PocketMags or PressReader.

• Our Video Disc has the very best DSLR technique & Photoshop video GUIDEs, which can also be viewed via our digital editions.

• We’re proud to use the World’s top Canon photographers and experts. Meet them on page 6.

Subscribe today to get a free Manfrotto monopod worth £29.95! See page 38 

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CONTENTS

76

Canon DSLR Skills

Back to Basics with your Canon

21 tips on batteries and memory cards, basic menu settings, camera modes explained, all the way to advanced skills like depth of field and HDR

52

08

Essentials 20 Inspirations

Stunning winning entrants to the Travel Photographer of the Year competition

28 Back to Basics

Got a new DSLR? Our guide takes you from the basic skills you’ll need once you take the camera out of the box to advanced skills you can master – in 21 easy-to-follow tips

38 72 Photo Stories 125 Next issue 130 Focus Point

Subscriptions

Get a monopod, save money and get 13 lovely issues when you subscribe today!

Tally-ho! Thomas Winstone goes fox hunting in urban Bristol – with a Canon DSLR

Did you think this month was great? Just wait until you see what’s coming next

Your missives from the PhotoPlus mailbag, the best stories from the web, the month in numbers, and reader poll results

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Canon pros 08 The Apprentice 40 David Noton On Location 64 The Pro Interview

This month’s Apprentice learns how to photograph birds of prey in a London studio

David finds his photographic mettle tested on a SE Asia assignment to Laos

Portrait pro Jillian Edelstein has shot cultural icons such as Nelson Mandela, as wells as politicians and other celebrities

76 My Kit

Ben Sasso uses minimal camera kit, but invests his photos with emotional impact

New tests 96 Gear Update

Slick tripod brackets, lush photo printers, and other Canon-fit kit that will make you take a hammer to your piggy bank

98 Mini Test

Get those photos off your PC! We compare six online photo book printers to see which offers the best product and service

Test: 100 Lens Canon EF 85mm Fast and stabilized: Canon’s new 85mm prime aims to give you the best of both worlds

Super Test: 102 4K HD Monitors Canon School 80 Cash with your Canon Buyers’ Guide 114 Digital SLR Essentials 84 Not all pros are self-employed – some advice on finding a salaried photography job

Lens cleaning, removing sensor dust, and other essential Canon maintenance

100

What you need to look for in an HD monitor and six of the best put through their paces in our comprehensive lab test

Every current Canon DSLR, from beginner to pro models, plus lenses from Sigma, Tamron, Tokina, and more www.digitalcameraworld.com


Issue 136 March 2018

40 64

7 ways to improve your photography today

48

Project 2 Master the technique of zone focusing for sharp street shots

50

Project 3 Capture out-ofthis-world abstract images of paint underwater

Photoshop CC

44

56

photoshop elements

Lightroom

Project 4 Focus-stack frames of flowers for front-to-back sharpness

Project 1 Challenge your camera skills and shoot a live music event

58

Tutorial 1 Get rid of distracting details in your landscape scenes

Free!

48-page mini show guide

Your complete guide to all the talks, exhibitors, master classes and pro photographer events. Download now at www.bit.ly/photoshow18

The Canon Magazine

60 Tutorial 2 Transform a portrait into polygons with filters and actions

62

Tutorial 3 Enhance a blurred backdrop by using the adjustment brush

READ THE TUTORIALS… THEN WATCH OUR EXPERT VIDEOS

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To view our ‘pop-out’ videos, tap these badges that appear alongside the tutorials inside the magazine, or type the link that appears alongside into your web browser.

THE INFORMATION PROVIDED IN THESE VIDEO TUTORIALS ARE 100% INDEPENDENT AND NOT ENDORSED OR SPONSORED BY CANON OR ADOBE SYSTEMS INCORPORATED

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Meet the team... Print 18,468 Digital 3,985 The ABC combined print and digital publication circulation for Jan-Dec 2016 is

22,453 A member of the Audited Bureau of Circulations

Who we are, what we do, and our favourite bits from this issue…

PhotoPlus: The Canon Magazine Future PLC Quay House, The Ambury, Bath BA1 1UA

Peter Travers

James Paterson

peter.travers@futurenet.com

james.paterson@futurenet.com

Editor • 5D Mark III

Technique writer • 5D Mark IV

“Photographing wild animals inside a studio sounds like madness, but Tim Flach has turned it into an art form as he taught to our Apprentice this issue.” Page 8

“My gig this month was to shoot a rock band’s gig in the low light confines of a local pub. Thankfully my Canon gear rose to the challenge – just!” Page 44

Lauren Scott

Martin Parfitt

lauren.scott@futurenet.com

martin.parfitt@futurenet.com

Staff writer • 7D Mark II

Art editor • 600D

“People-watching fascinates me, so this month I hit the streets of Bristol armed with a subtle focusing technique for capturing kooky characters.” Page 48

“As a clean freak (but not OCD diagnosed) dust is your number one enemy. So while it’s cold out, learn how to clean and maintain your kit in our Canon School.” Page 84

Rod Lawton

Matthew Richards

rod.lawton@futurenet.com

photoplus@futurenet.com

Head of testing • 6D

Technical writer • 760D

“We take pictures to try and capture memories, so what could be better than a photo book? It’s a chance to bring photos together to share a story.” Page 98

“My home office has been packed with half a dozen glorious 4K UHD screens this month, and a Netflix subscription. It’s a tough job but someone has to do it...” Page 102

This issue’s contributors… Tim Flach

is famous for his emotive photos of wildlife. He guides our Apprentice in shooting birds of prey. Page 8

Ben Sasso

A minimalist when it comes to his camera kit, Ben loads his photos with powerful human emotion. Page 76

David Noton

loves shooting in SE Asia, but finds his photographic mettle challenged while visiting Laos. Page 40

Marcus Hawkins

It’s winter, so use the long, dark nights to clean and maintain your Canon EOS cameras and kit. Page 84

Editorial Editor Peter Travers peter.travers@futurenet.com • 01225 442244 Production Editor Vaughn Entwistle Art Editor Martin Parfitt Staff Writer Lauren Scott Head of Testing Rod Lawton Imaging Labs Manager Ben Andrews Group Editor-in-Chief Chris George Senior Art Editor Rebecca Shaw Photography All copyrights and trademarks are recognised and respected Advertising Media packs are available on request Commercial Director Clare Dove clare.dove@futurenet.com Senior Advertising Manager Sasha McGregor sasha.mcgregor@futurenet.com • 01225 687675 Account Director Matt Bailey matt.bailey@futurenet.com • 01225 687511 Media Sales Executive Jamie McKay jamie.mckay@futurenet.com • 01225 687483 International PhotoPlus is available for licensing. Contact the International department to discuss partnership opportunities: International Licensing Director Matt Ellis matt.ellis@futurenet.com Subscriptions Email enquiries photoplus@myfavouritemagazines.co.uk UK orderline & enquiries 0844 848 2852 Overseas order line and enquiries +44 (0)1604 2510458 Online orders & enquiries www.myfavouritemagazines.co.uk Head of subscriptions Sharon Todd Circulation Circulation Director Darren Pearce 01202 586200 Head of Newstrade Tim Mathers 01202 586200 Production Head of Production US & UK Mark Constance Production Project Manager Clare Scott Advertising Production Manager Joanne Crosby Digital Editions Controller Jason Hudson Production Manager Vivienne Calvert Management Managing Director Aaron Asadi Editorial Director Paul Newman Art & Design Director Ross Andrews Head of Art & Design Rodney Dive Commercial Finance Director Dan Jotcham Printed by Wyndeham Peterborough, Storey’s Bar Road, Peterborough, Cambridgeshire, PE1 5YS Distributed by Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU www.marketforce.co.uk Tel: 0203 787 9001 ISSN 1754836

Jillian Edelstein

From modest South African roots, Jillian has gone on to shoot famous politicians and cultural icons. Page 64

Brian Worley

Our resident Canon guru is here to answer your most technical Canon and photo kit queries. Page 88

Thomas Winstone

Thomas was on the hunt for urban red foxes in Bristol, but used his Canon DSLR to do the shooting. Page 72

Ben Andrews

Ben tests six of the best photo books for displaying your images plus picks the best value option. Page 98

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Disclaimer All contents © 2018 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.

Our contributors Ben Andrews, David Clark, Ollie Curtis, Tim Flach, Marcus Hawkins, Gareth Jones, Rod Lawton, David Noton, James Paterson, Matthew Richards, Ben Sasso, Brian Worley Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR) www.futureplc.com

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Chief executive Zillah Byng-Thorne Non-executive chairman Peter Allen Chief financial officer Penny Ladkin-Brand Tel +44 (0)1225 442 244

www.digitalcameraworld.com


theApprentice

the eagle has landed

Canon pro Tim Flach teaches our Apprentice how to take great portraits of birds of prey in his London photostudio

the Canon PRO Name:

tim flach Camera:

Canon EOS 5DS Tim is a London-based photographer best known for his stylized portraits of wildlife and for capturing human-like characteristics in animals. His photographs are showcased in books, exhibitions and collections around the world. Although based in his spacious photo studio in Shoreditch, Tim travels all around the world in search of interesting wildlife to photograph. His latest book, Endangered, is out now. (For more info, see timflach.com and far right.)

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www.digitalcameraworld.com


SHOOT SHOOTWITH WITHAAPRO PRO

FACTFILE Tim Flach’s new book endangered species

APPRENTICE Name:

Rebecca FULCHER Camera:

Canon EOS 7D Mk II From Milton Keynes, 43-year old Rebecca works as a contracts administrator. She’s been an avid reader of PhotoPlus magazine since issue 1. She’s also been a keen photographer for the last 28 years and has recently focussed on wildlife. After buying Canon DSLRs she wanted to learn the tricks and techniques involved with some additional tutoring. Her first DSLR was a Canon EOS 350D, then a 70D, and she recently upgraded to a 7D Mk II.

The Canon Magazine

the epic book Endangered by Tim Flach is the result of an extraordinary multi-year project to document the lives of threatened species. Travelling around the world – from forest to savannah to the polar seas to coral reefs – Tim has constructed a powerful visual record of remarkable animals facing harsh challenges. Among them are primates coping with habitat loss, big cats in a losing battle with human settlements, elephants hunted for their ivory, and birds taken as pets. Endangered unfolds as a series of vivid, interconnected stories, unforgettably expressed by over 180 of Tim’s incred­ible images. bit.ly/endangered_flach

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theApprentice TECHNIQUE ASSESSMENT

After talking through her settings, Tim advised Rebecca to tweak two key modes on her 7D Mk II

HOT SHOT #1

Manual mode Rebecca often only used Aperture Priority (Av) mode. “However, to take control of your exposures you need to shoot in Manual,” Tim says. “This enables you to set the aperture and shutter speed to get the results you want, and is essential when photographing with lights. With your exposure fixed in Manual, you can then adjust your lights for the perfect exposure. This way you control which parts of your wildlife subject and backdrop are lit and which areas are in shadow.”

aperture for dof As your focal length increases, depth of field decreases – this is further reduced the closer you are to your subjects. “If you’re shooting close up with a wide aperture on a 100mm macro lens, you only have a very shallow band in shot that will appear sharp,” says Tim. “Instead I got Rebecca to set a narrow aperture of f/16 for more depth of field and to ensure she captures detail in all the bird’s feathers.”

pro lighting setup Tim uses lots of heads and diffusers for good lighting to show off the wildlife’s fur or feathers at their best. For Hot Shot #1 (right) he used two lights on the background for a smooth gradation effect, one light high to the left bouncing from inside a large umbrella and then shooting through a large diffusing panel for the catch light in the bird’s eye, one strip light right to brighten up the side of the bird in shadow, and finally one ringflash front and centre for fill-in light. It’s a complex setup, but you can still capture great animal portraits with a two or four-light setup.

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Lens

Canon EF 100mm f/2.8 Macro USM

Exposure

1/80 sec, f/8, ISO100

Top gear #1

Battery-powered lights “Tim didn’t get in a flap when there was a power cut – just after he and Ed, his assistant, had spent over an hour setting up various studio lights – he calmly got Ed to set up his large selection of battery-powered Broncolor lights and methodically set up from scratch again. “You have to be ready to adapt to any situation. Normally problems arise when out in the field – not in my London photostudio! – but there’s always a solution to getting the shots. We always keep my battery lights charged up and ready to go,” smiles Tim.

www.digitalcameraworld.com


SHOOT WITH A PRO

Rebecca’s comment For this first setup Tim (and his assistant Ed) were careful to get the lights perfectly set up before the bird of prey was brought in, as it’s important for the birds to settle naturally without having the interruption of a new light that may be needed. We wanted to get a natural first pose looking directly at the camera and used the aid of dog squeaky toys to gain the bird’s attention – and I caught this inquisitive expression.



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theApprentice tim’s tips for better wildlife studio shots

1

Stuffed animal stand-in If you are working with animals in the studio, have a stand-in to prepare. I usually have a fluffy toy. It’s much better to plan things out to avoid stressing an animal and losing a window of opportunity.

2

Down to their level If the animal allows you the opportunity (domestic animals) it generally serves well to come down to their level, creating that sense of intimacy to generate a sense of connection.

Top gear #2

Big sensor EOS DSLR Tim uses a Canon EOS 5DS which has a massive 50-megapixel sensor enabling him to capture both large images ideal for big prints, plus vast amounts of fine detail in fur and feathers. “The 5DS also means we can confidently crop a vertical shot from a horizontal file and know it will still be high enough resolution for full page in the magazine,” says Tim, “Plus the majority of my wildlife shots in the field are shot with my Canon gear as I need Canon’s longer telephoto lenses to reach nature subjects in the distance, where medium format camera lenses can’t compete.”

3

Sense of emotion Consider how things evoke a sense of emotion within the pictures. This can be generated through feel and atmosphere; for example, using a predominantly cool colour palette to create a sense of the nocturnal when photographing an owl.

4

Animal handler If the animal has a handler, it is important to communicate effectively with them because they know the animal best and can help you to achieve your plan.

5

How should the image work? My general approach is to question how you want the images to work on the viewer.

6

Animal’s personalities Think about a sense of character and personality; you are much more likely to connect with the viewer.

7

Emphasize interesting elements It is important to recognize the elements you find most interesting in the wildlife, then set about helping the viewer to find them. This might entail changing the contrast of edges to redirect the eye or to reshape the picture tonally in Photoshop.

8

Fill lights I use a key flash and often use a ring flash to fill in as they create a more interesting texture in the shadow. To create the illusion of daylight I add a 1/4 blue filter.

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Inspiration board of prints It’s good to have magnetic boards. I print my images and keep them up over time to see them with a fresh pair of eyes each day.

10

Test your kit It is very important to test the potential of the equipment you own – test the boundaries to understand the parameters of what the kit can do. It pays dividends to invest a bit of time!

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stuffed animals! before Tim starts setting up his lights or taking photos, he studies the animal to work out which colours and tones to expose, and the colour of their eyes. “I’ll then use one of my stuffed animal toys with the same fur colour and face shape to set up my lights. The grey koala toy was an ideal stand in to use before we photographed the Great Grey Owl. With the toy in position, I then think about all my lights and adjust their height, angle, power, distance,” reveals Tim. He also uses different props to attract an animal’s attention to capture good expressions. Some wildlife are attracted to noises where others have better eyesight and will follow props as he moves them.

Top gear #3

Macro lens for sharpness “canon’s macro lenses are incredibly sharp and capture the levels of details I’m after, without any distortion or loss of sharpness around the edges. I use Canon’s EF 100mm f/2.8L Macro IS USM which is great to use on a tripod and, thanks to the Image Stabilization, handheld as well. A 100mm focal length also means I can shoot from a good distance without distracting the birds,” says Tim.

www.digitalcameraworld.com


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